36

Sai’s job is to look for suitable locations for filmmakers and artists, which is one of the reasons she’s always shooting footage or recording data for her clients. When her computer dies and she loses a large amount of data, she begins to sense that part of her own memory has been wiped clean. She’s got to get it back at any cost. That means returning to old places and thoroughly reexperiencing what takes place there. As a result, a subtle romanticism and intimacy, in a form akin to similarly minimalistic films from South Asia, emerges out of ordinary – here considerably disjointed – situations. Although the movie lacks standard dramatic qualities, it would be inaccurate to speak of an absence of narrative, but rather of a tenuous storyline. No clear-cut resolution comes out of the film’s structure, but this doesn’t mean that the picture isn’t emotionally absorbing. However much, in our digitalized present, this perceptive and poetic film touches on issues of memory storage instead of constructing a plot, it manages to create an unforgettable magic. (Karlovy Vary International Film Festival)